When Artists Enter the Factories is an invitation to explore the segregated yet inseparable relationship between manufacturing and artmaking in the architectural settings of the Brooklyn Army Terminal (BAT). By presenting sculptures, installations, photographs, videos, augmented reality, and a socially engaged project, artists in this exhibition intersected with contemporary manufacturing landscapes to explore their impact on everyday life. This exhibition unpacked entanglements between human and machine, as well as the role of artists and workers, through the refabrication of industrial materials.

When Artists Enter the Factories is also inspired by a large-scale exhibition, Terminal New York, held at this same location in 1983. Thirty-six years later, 16 artists will inhabit this former US military supply base, which today is one of the most innovative and accessible manufacturing campuses in New York City. As their creative energies engage with the site and the workers at BAT, viewers are welcome to partake in a range of material and conceptual actions led by artists based here in Brooklyn and other parts of the world.

This exhibition is sponsored by the New York City Economic Development Corporation and the Brooklyn Army Terminal. Additional support has been provided by Untitled Association, Rome; the Danish Arts Foundation; the Finnish Cultural Foundation; and the Greater Pittsburgh Arts Council. Production Partnership includes Makerspace NYC, Rvinyl, and Vendome Exhibits.

From the Press Release

RGB (skin)
is a series of sculptures, printed fabrics and foam, resulting from the manipulation of a blank canvas placed on the lit and the moving bed of a scanner. The choreographed and mirrored patterns visualize the physical interactions with the scanner and canvas which are generated and recorded into different colors, as revealed in these works.
Sara Enrico follows an interest in the declination of materials and processes; by creating objects, she takes inspiration by sartorial and architectural approaches and syntax: cutting, folding, covering, staging. The artist’s relationship with digital develops in the dimension of depth, which is explored through repeated overlapping and thinning down of layers that stir the flatness of the support.
In these series of works, she plays with the geometry and memory of elements usually produced for sportswear, industrial and interior design. The transitive nature of her research finds expression in process and performance, which is always detectable, although never displayed. The works seem to demand our gaze to act in a context where the narrations begin from their surfaces.

From the introducing texts about the works